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YIVO digitizes writer Chaim Grade’s archive, a Yiddish treasure with a soap opera backstory
(JTA) — Years ago, when I worked at the Forward, I had a cameo in a real-life Yiddish drama.
A cub reporter named Max Gross sat just outside my office, where he answered the phones. A frequent caller was Inna Grade, the widow of the Yiddish writer Chaim Grade and a fierce guardian of his literary legacy. Mrs. Grade would badger poor Max in dozens of phone calls, especially when a Forward story referred kindly to the Nobel laureate Isaac Bashevis Singer. Grade’s widow described Singer as a “blasphemous buffoon” whose fame and reputation, she was convinced, came at the expense of her husband’s.
As Max explains in his 2008 memoir, “From Schlub to Stud,” Mrs. Grade “became a bit of a joke around the paper.” And yet in Yiddish literary circles, her protectiveness of one of the 20th century’s most important Yiddish writers was serious business: Because Inna Grade kept such a tight hold on her late husband’s papers — Chaim Grade (pronounced “Grah-deh”) died in 1982 — a generation of scholars was thwarted in taking his true measure.
Inna Grade died in 2010, leaving no signed will or survivors, and the contents of her cluttered Bronx apartment became the property of the borough’s public administrator. In 2013, Chaim Grade’s personal papers, 20,000-volume library, literary manuscripts and publication rights were awarded to the YIVO Institute for Jewish Research and the National Library of Israel. They are now stored in YIVO headquarters on Manhattan’s W. 16th Street.
This week YIVO and the NLI will announce the completion of the digitization of “The Papers of Chaim Grade and Inna Hecker Grade,” making the entire archive publicly accessible online. When the folks at YIVO invited me to come and look at the Grade collection, I knew I had to invite Max, not just because of his connection to Inna Grade but because he has become a critically acclaimed novelist in his own right: His 2020 novel “The Lost Shtetl,” which imagines a Jewish village in Poland that has somehow escaped the Holocaust, is in many ways an homage to the Yiddish literary tradition.
We met on Thursday with the YIVO staff, who were tickled by the T-shirt Max was wearing, which had a picture of Chaim Grade and the phrase “Grade is my homeboy.” (Max said his wife bought it for him, although neither could imagine the market for such a shirt.)
Stefanie Halpern, director of the YIVO archives, and novelist Max Gross discuss a thick file containing news clippings relating to the late Yiddish novelist Chaim Grade at YIVO’s Manhattan offices, Feb. 2, 2023. (New York Jewish Week)
The Grade papers — manuscripts, photographs, correspondence, lectures, speeches, essays — are stored in folders in gray boxes, whose neatness belies the years of effort that went into putting them in order. Jonathan Brent, executive director and CEO of YIVO, described for us the Grades’ apartment, which he visited shortly after Inna’s death.
“It was like a combination of my grandmother’s apartment and a writer’s home,” he said. “Everything was books, books to the ceiling. You open a drawer in the kitchen where you think there’ll be knives and forks, there are books, there are manuscripts. You open the cabinet in the bathroom, there are more manuscripts and books and books…. But the thing I remember most is that at the top of a shelf there was that much dust.” He held his fingers about two inches apart.
Inna Grade was Chaim Grade’s second wife. The writer was born in Vilna (now in Lithuania) in 1910. He was able to flee east during the Nazi occupation, leaving behind his mother and his first wife under the assumption that the Germans would only target adult men. It was a tragic miscalculation, and their deaths would haunt Grade the rest of his life. Inna Hecker was born in Ukraine in 1925, and met Grade in Moscow during the war. Married in 1945, they immigrated to the United States in 1948.
Chaim Grade had already established a reputation as a poet, playwright and prose stylist before the war; English translations of his novels “The Agunah” and “The Yeshiva” and serial publication of his novels in the Yiddish press brought him recognition in America for what the Yiddish scholar Ruth Wisse calls a “Dostoyevskian talent to animate in fiction the destroyed Talmudic civilization of Europe.” Columbia University professor Jeremy Dauber, in a YIVO release, says that Grade was possessed “by the spirit of the yeshiva world he’d left behind; then possessed by the spirits and memories of those who’d been murdered by the Nazis.”
Stefanie Halpern, director of the YIVO archives, showed us the physical evidence of that possession: Grade’s notebooks, in which he wrote down ideas and inspiration in a careful Yiddish script; manuscripts for at least two unpublished dramatic works, “The Dead Can’t Rise Up” and “Hurban” (“Sacrifice”); a photograph of Grade standing amidst the ruins of Vilna during his only visit after the war; pictures of the Bronx apartment taken when the couple was still alive, book-filled but still tidy.
Halpern also showed us the Yiddish typewriter recovered from the apartment, with what is believed to be the last page he worked on still rolled in its platen.
Chaim Grade’s typewriter, preserved in the condition it was found when the Yiddish author died in 1982, contains what are apparently the last lines he ever wrote. (New York Jewish Week)
The archivists are also careful to give Inna her due. After arriving in America she studied literature and received a master’s degree from Columbia, and often translated her husband’s work. Thanks to her, hundreds of clippings of Grade’s work and articles about him have survived.
Her correspondence reflects the lengths she went to protect her husband’s legacy during and after his lifetime, including a bizarre and lengthy letter to the Vatican complaining about Singer. “She was a brilliant and creative person, devoted in a way only a widow can be,” said Brent. “And perhaps devoted to a maddening extent.”
If all that sounds like the stuff of Jewish fiction, it is: In 1969, Cynthia Ozick wrote a novella called “Envy; or, Yiddish in America,” about Yiddish writers very much like Grade consumed with envy for a writer very much like Singer. “They hated him for the amazing thing that had happened to him — his fame — but this they never referred to,” wrote Ozick. “Instead they discussed his style: his Yiddish was impure, his sentences lacked grace and sweep, his paragraph transitions were amateur, vile.”
Halpern showed us a mailgram from Inna to the Forward that makes it clear that she and her husband read and hated the story. In it she describes Ozick as “no less grotesque than evil.”
For all of the gothic Yiddish aspects of its retrieval, “this is probably the single most important literary acquisition in YIVO’s postwar history,” Brent said of the archive. He described publishing projects already underway with Schocken Books and other publishers that will draw on the material.
Max and I discussed what it felt like to see what had become “a bit of a joke” around the Forward office placed at the center of an epic exercise in literary preservation. Max was struck by the way Inna’s personality came through in the papers. “This was her,” he said. “Her obsession, her struggle, all these things. It was definitely remarkable to see that.”
I recalled overhearing his conversations with Inna, and how her behavior could seem funny and exasperating, but also admirable and more than a little sad — in that her devotion to her husband’s reputation may also have prevented scholars from doing the work that would have made him better known.
“Exactly, but that’s one of the reasons why you get into Yiddish literature, because all of these things are true at the same time,” said Max. “Those kinds of scores, rivalries, feuds within Yiddish literature is what is so great about it. It is great to see that somebody really cared and that literature was taken so seriously. And the pettiness was something you couldn’t quite divest from the rest of it.”
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Brooklyn Nets Forward Michael Porter Jr. Defends Deni Avdija Against Hate for Representing Israel
Mar 2, 2025; Cleveland, Ohio, USA; Portland Trail Blazers forward Deni Avdija (8) drives to the basket against Cleveland Cavaliers guard Ty Jerome (2) and forward Dean Wade (32) during the second half at Rocket Arena. Photot: Ken Blaze-Imagn Images via Reuters Connect
Brooklyn Nets forward Michael Porter Jr. defended fellow NBA player and Trail Blazers forward Deni Avdija against the hate he receives for representing his home country of Israel.
Porter Jr. recently made an appearance on a live stream with YouTuber N3on and mentioned that Avdija is a player who gets to the free-throw line often. N3on then commented that Avdija “gets a lot of hate,” referring to hate messages on social media, even though “he’s a good player.” When Porter asked the streamer if Avdija is criticized because he is Jewish, N3on replied yes.
“Really? What are people mad about?” Porter asked.
“Because he wore a flag or something,” N3on replied, referring to Avdija’s public display of pride for Israel, such as wearing a jersey featuring an Israeli flag or draping himself in an Israeli flag on the court.
“It’s so weird,” Porter said in response. “Do people not want others to represent their country? What do they expect from him?”
Michael Porter Jr. tells N3on people are weird for hating on Deni Avdija just because he proudly represents Israel
“Why hate someone for repping their country?”
pic.twitter.com/C945Xr0dhB
— luci. (@inmaxera) May 2, 2026
Avdija, who is set to become a free agent in 2028, is the first Israeli to be named an NBA All-Star and last month became the first Israeli to reach and win an NBA Playoff game. Unfortunately, the Portland Trail Blazers ended their 2025-26 season last week with a 114-95 loss to the San Antonio Spurs in the first round of the 2026 playoffs.
Earlier the year, Avdija spoke to The Athletic about the hate that he receives as an NBA player from Israel.
“I obviously stand for my country, because that’s where I’m from. It’s frustrating to see all the hate,” he said. “Like, I have a good game or get All-Star votes, and all the comments [on social media] are people connecting me to politics. Like, why can’t I just be a good basketball player? Why does it matter if I’m from Israel, or wherever in the world, or what my race is? Just respect me as a basketball player.”
“You don’t have to love what I stand for or how I look, but if I’m a good player, give props,” Avdija added. “All this hate … for no reason, like I’m deciding things in the world … I’m from there, and I respect my country, and I stand behind it. I’m a proud Israeli because that’s where I grew up. I wouldn’t be where I am today if it weren’t for Israel and the support the people and fans gave me. But all the extra stuff around it? It’s just unnecessary.”
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Mike Stoller and Iris Rainer Dart talk ‘Beaches’ and reviving their Yiddish musical
A Peanuts poster in the background of our video call reminds Iris Rainer Dart of her brief time starring in a musical.
“I was the understudy for Judy Kaye in the L.A. company of You’re A Good Man, Charlie Brown,” recalled Dart, 82, the author of the bestselling novel Beaches and the book and lyrics for the new Broadway musical based on it. “She wanted to go home for Thanksgiving, and so they let me go on one time to see if I could do it. And then for Thanksgiving, I had a peanut butter and jelly sandwich and then went on as Lucy!”
After that, it was curtains. “That’s my distinguished acting career,” Dart said. “Boy, am I glad it gave me up!”
But Dart never gave up on musicals, which she started writing as an undergrad at Carnegie Mellon with an up-and-coming composer named Stephen Schwartz. She worked as a writer for Sonny and Cher’s variety show, and used Cher as a partial model for the character of Cee Cee Bloom, the brassy diva whose friendship with the more refined Bertie White is the center of Beaches. (There’s a bit of Dart in Bloom, too — namely the Jewishness.) Years later, after Garry Marshall directed the 1988 film version of Beaches, Bette Midler, who gave life to Cee Cee on screen, asked Dart to write a new vehicle for her.
Searching for subject matter, Dart remembered her stint as a replacement teacher at her daughter’s Jewish school in her largely Judenrein neck of California. She felt unprepared to take over — “The understudy doesn’t know the lines” — but she got mailers from Jewish institutions to develop her lesson plans. One was a catalog of Yiddish films.
Growing up in Pittsburgh with Yiddish-speaking immigrant parents, she didn’t need subtitles to watch them. Inspired, she wrote what would become The People in the Picture, a memory play of Yiddish theater and the Holocaust.
Midler wouldn’t go on to star in the show, which debuted on Broadway in 2011 with Donna Murphy, but she made the shidduch between Dart and Mike Stoller, the legendary songsmith who, with lyricist Jerry Leiber, penned “Hound Dog,” “Jailhouse Rock,” “Yakety Yak” and, yes, a tune called “Charlie Brown” for the Coasters.
When it came time to adapt Beaches, a story built in part around backstage drama, and an enduring friendship that grows out of it, Dart reconnected with Stoller after working with a different composer on a previous run of the show.
Stoller, 93, has had his music feature in many Broadway musicals — mostly of the jukebox variety, long after they had already been hit records. He says he approaches crafting an original score differently, writing for characters rather than an artist like Elvis. With Beaches he set out to write a “musical-musical,” that was traditional and book-driven. In the case of both Beaches and People in the Picture, there’s a heaping helping of Yiddishkeit.
One line that has audiences rolling in the aisles comes when Cee Cee (played by Jessica Vosk) pays a visit to her friend Bertie (Kelli Barrett), whose mother is dying at a Catholic hospital. She tells the nuns “my mother used to point you out to me on the street and say, ‘At least they married a Jewish guy.’”
Stoller spent some of his early years living in the converted basement of his grandparents’ house in Bell End, Queens. His grandmother spoke Yiddish, Russian, Polish and English with a Cockney accent.
“She left Bialystok and moved to Whitechapel in London on her way to America,” Stoller explained.
Stoller never had a bar mitzvah, and learned his father didn’t either. It was only when the family moved to California that Stoller learned his dad, A.L. Stoller’s, full name.
“I was thrilled to find out that his name was really ‘Abraham Lincoln Stoler,’” Stoller recalled. “In a way, it sounded Black, and I was working primarily with African American people when I started writing along with Jerry, and those were the singers that inspired us, and so I felt additional pride in his name.”
The People in the Picture brought Stoller to tears. Beaches, which (spoilers for a 41-year-old story) ends with Bertie’s untimely death, has audiences cracking up before they reach for a Kleenex.
The one song Stoller didn’t compose for the show is “The Wind Beneath My Wings,” which became a standard from the film. But beyond that, the story stays truer to Dart’s novel than the movie did.
“I always knew, because I wasn’t writing it, that it would not be the story that I wanted to tell,” said Dart of the film version. “The story I wanted to tell was in the book and in this musical.”
In the meantime, Stoller and Dart want to bring back People in the Picture. Dart said she has a new draft ready to go.
“I’m hoping that maybe we can get Jeff Goldblum, who says he loves Yiddish,” Dart said. “He’s from Pittsburgh also, and I think his father, Dr. Goldblum, may have been the doctor to my family, to my mother. Because there were two Dr Goldblums, and one of them was an eye doctor, and my mother was always trying to fix him up with my cousin.”
“Need I say more?” Dart asked.
The post Mike Stoller and Iris Rainer Dart talk ‘Beaches’ and reviving their Yiddish musical appeared first on The Forward.
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Trump Says Iran ‘Should Wave White Flag of Surrender’ as Shaky Ceasefire Holds Despite Exchange of Fire
US President Donald Trump speaks during an event to sign a memorandum in the Oval Office at the White House in Washington, DC, US, May 5, 2026. Photo: REUTERS/Evan Vucci
US President Donald Trump on Tuesday dismissed Iran‘s military capability and said Tehran “should wave the white flag of surrender” but is too proud to do so.
Trump’s comments to reporters in the Oval Office came as the United Arab Emirates said it was under attack from Iranian missiles and drones, even as Washington said a shaky ceasefire was intact despite an exchange of fire the previous day as US forces attempted to force open the Strait of Hormuz.
Despite the escalation, Iran‘s military has been reduced to firing “peashooters,” Trump said, adding that Tehran privately wants to make a deal despite its public saber-rattling.
“They play games, but let me just tell you, they want to make a deal. And who wouldn’t, when your military is totally gone?” he said.
Trump heaped praise on the US blockade of Iranian ports in the region. “It’s like a piece of steel. Nobody’s going to challenge the blockade. And I think it’s working out very well,” he said.
When asked what Iran would need to do to violate the ceasefire, Trump said: “Well, you’ll find out, because I’ll let you know … They know what not to do.”
Trump argued that Iran “should save the white flag of surrender,” adding, “If this were a fight, they’d stop it.”
The US military said it had destroyed six Iranian small boats, as well as cruise missiles and drones, after Trump sent the navy to escort stranded tankers through the strait in a campaign he called “Project Freedom.”
US Defense Secretary Pete Hegseth said the operation to protect commercial ships was temporary and the four-week-old truce was not over. “We’re not looking for a fight,” he told a press conference. “Right now, the ceasefire certainly holds, but we’re going to be watching very, very closely.”
Iran fired missiles at US ships on Monday and attacked the UAE, a key regional ally of Washington, with missiles and drones. After issuing a new map of the Strait of Hormuz with an expanded Iranian area of control, Iran‘s Revolutionary Guards warned vessels on Tuesday to stick to the corridors it had set or face a “decisive response.”
Shortly after Hegseth spoke on Tuesday, the UAE’s defense ministry said its air defenses were again dealing with missile and drone attacks coming from Iran.
‘RIGHT TO RESPOND’
The Gulf Arab state’s foreign ministry said in a statement that the attacks were a serious escalation and posed a direct threat to the country’s security, adding that the UAE reserved its “full and legitimate right” to respond.
There was no immediate comment on that from Iran, though earlier its parliament speaker, Mohammad Baqer Qalibaf, had said breaches of the ceasefire by the US and its allies endangered shipping through the strait, which carries a large share of the world’s oil and fertilizer supplies.
“We know well that the continuation of the current situation is unbearable for the United States, while we have not even begun yet,” he said in a social media post.
The Strait of Hormuz has been virtually shut since the United States and Israel began attacks on Iran on Feb. 28, triggering disruptions that have pushed up commodity prices around the world.
Iran has effectively sealed off the strait by threatening to deploy mines, drones, missiles, and fast-attack craft. The United States has countered by blockading Iranian ports and mounting escorted transits for commercial vessels.
Hegseth said the US had successfully secured a path through the narrow waterway and that hundreds of commercial ships were lining up to pass through.
The US military said two US merchant ships made it through the strait, without saying when, with the support of Navy guided-missile destroyers.
Iran denied any crossings had taken place, though shipping company Maersk said the Alliance Fairfax, a US-flagged ship, exited the Gulf under US military escort on Monday.
Several merchant ships in the Gulf reported explosions or fires on Monday, and an oil port in the UAE, which hosts a large US military base, was set ablaze by Iranian missiles.
Iran also said it fired warning shots at a US warship approaching the strait, forcing it to turn back.
Reuters could not independently verify events in the strait as the two sides issued contradictory statements.
General Dan Caine, the chairman of the US Joint Chiefs of Staff, said Iranian attacks against US forces fell “below the threshold of restarting major combat operations at this point.”
PAKISTAN’S MEDIATION EFFORTS CONTINUE
The war has killed thousands as it spread beyond Iran to Lebanon and the Gulf, and has roiled the global economy. The head of the International Monetary Fund said on Tuesday that even if the conflict ended immediately, it would take three to four months to deal with the consequences.
US and Iranian officials have held one round of face-to-face peace talks, but attempts to set up further meetings have failed.
Iranian state media said on Sunday that the US had conveyed its response to a 14-point Iranian proposal via Pakistan, and Iran was reviewing it. Neither side gave details.
Iranian Foreign Minister Abbas Araqchi said peace talks were still progressing with Pakistan’s mediation and warned the US and the UAE against being drawn into a “quagmire.”
He was traveling to Beijing on Tuesday for talks with his Chinese counterpart, his ministry said. Trump is also due to visit China this month.
A senior Pakistani official involved in talks said: “We have put in a lot of efforts – actually both the sides have narrowed gaps on a majority of the issues.”
Trump has said the US-Israeli attacks aimed to eliminate what he called imminent threats from Iran, citing its nuclear and ballistic missile programs and its support for terrorist groups Hamas and Hezbollah.
Trump has insisted Iran must surrender its enriched uranium stockpiles to prevent it producing a nuclear weapon – an ambition Tehran denies.